Blues

Etta James - The Right Time (1992)

2019-05-13T14:56:54Z

Etta James - The Right Time (1992)


1 	I Sing The Blues 	
2 	Love And Happiness 	
3 	Evening Of Love 	
4 	Wet Match 	
5 	You're Taking Up Another Man's Place 	
6 	Give It Up (Duet With Steve Winwood) 	
7 	Let It Rock 	
8 	Ninety Nine And A Half (Won't Do) 	
9 	You've Got Me 	
10 	Nighttime Is The Right Time 	
11 	Down Home Blues

Alto Saxophone, Arranged By [Horns] – Hank Crawford
Baritone Saxophone – Jim Horn
Bass – David Hood (tracks: 6, 10), Willie Weeks (tracks: 1 to 5, 7 to 9, 11)
Drums – Roger Hawkins (tracks: 6, 10), Steve Ferrone (tracks: 1 to 5, 7 to 9, 11)
Electric Piano [Wurlitzer] – Clayton Ivey (tracks: 1, 2, 4, 6 to 8)
Guitar – Jay Johnson (tracks: 7, 10, 11), Jimmy Johnson (tracks: 6, 10), Lucky Peterson (tracks: 1, 2, 4, 6, 7, 11),
 Steve Cropper (tracks: 1 to 5, 7 to 9, 11), Will McFarlane (tracks: 6, 10)
Organ – Lucky Peterson
Percussion – Tom Roady (tracks: 1, 2)
Synthesizer – Frankie Crawford (tracks: 1 to 3, 5 to 11)
Tenor Saxophone – Harvey Thompson
Trumpet – Gary Armstrong, Mike Haynes
Vocals – Etta James
+
Harmonica – Kirk "Jelly Roll" Johnson
Acoustic Guitar – Will McFarlane
Backing Vocals – Cindy Walker, George Soule, Marie Lewey
Vocals – Steve Winwood

There is no greater living blues singer than Etta James, and no producer more attuned to the right setting for a blues diva than Jerry Wexler. The recent collaboration between these two giants, The Right Time, is as spectacular an update of R&B as that statement suggests it would be. The album is overpowering in its stylistic force. Its material is drawn from an R&B treasure-trove dating back to early Atlantic sides and covering the history of Southern soul from Sixties Stax through Seventies Hi and Eighties Malaco. The result is a sound steeped in tradition but as fresh as a magnetic $100 bill.

Wexler selected a who’s who of session players for the project, resulting in a number of long-overdue reunions. The most significant reunion, though, is between the principals themselves. James and Wexler, who worked together once before, on the album Deep in the Night (1978), returned to the scene of some of their greatest musical moments: Muscle Shoals, Alabama. In the late Sixties, Wexler helped finance Muscle Shoals Sound Studios, where The Right Time was made. James was brought in to record at the studio by Marshall Chess shortly after Wexler stopped working there.

The Right Time features a horn section led by Hank Crawford and two basic rhythm sections — the Muscle Shoals house band (drummer Roger Hawkins, bassist David Hood and guitarist Jimmy Johnson) and one built around Stax legend Steve Cropper on guitar, with veterans Willie Weeks on bass and Steve Ferrone on drums. Both sections use arrangements supervised by Clayton Ivey, who augments his own keyboard work with organ and guitar backing from Lucky Peterson and synthesizer textures from Frankie Crawford.

Hank Crawford recaps his original performance as part of the Ray Charles band on “Nighttime Is the Right Time,” which James renders as if it were written for her. Steve Winwood’s duet with James on Allen Toussaint’s “Give It Up” reunites him with the Muscle Shoals rhythm section that backed him in the latter days of Traffic. Cropper, who wrote and played on the original “Ninety Nine and a Half,” by Wilson Pickett, pushes James to match the wicked Pickett thrill for thrill on her version.

James comes out blasting on the sultry “I Sing the Blues” and a cover of Al Green’s “Love and Happiness.” She stokes the fires of passion on “Wet Match” and kicks the party door in on “Down Home Blues.” Her gospel-influenced voice super-charges the seething ballads “Evening of Love,” “You’re Taking Up Another Man’s Place” and “You’ve Got Me.”

James caps off The Right Time by contributing a song, “Let It Rock,” that applies everything she knows about her craft to a contemporary setting. James laments a catalog of problems — from the conditions that led to the Los Angeles riots to “rock & roll that ain’t got no feel.” In the process she stamps herself as the indisputable queen of modern-day as well as traditional blues. ---John Swenson, rollingstone.com

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Etta James ‎– Tell Mama (1968)

2018-11-15T09:15:54Z

Etta James ‎– Tell Mama (1968)


A1 	Tell Mama 	2:20
A2 	I'd Rather Go Blind 	2:33
A3 	Watch Dog 	2:06
A4 	The Love Of My Man 	2:37
A5 	I'm Gonna Take What He's Got 	2:32
A6 	The Same Rope 	2:39
B1 	Security 	2:44
B2 	Steal Away 	2:19
B3 	My Mother-In-Law 	2:20
B4 	Don't Lose Your Good Thing 	2:26
B5 	It Hurts Me So Much 	2:34
B6 	Just A Little Bit 	2:11

Bass – David Hood
Drums – Roger Hawkins
Guitar – Albert Lowe, Jr., Jimmy Ray Johnson
Organ – Barry Beckett, Carl Banks
Piano – George Davis, Marvell Thomas
Piano, Organ – Dewey L. Oldham
Saxophone – Aaron Varnell, Charles Chalmers, Floyd Newman, James Mitchell
Trumpet – Gene Miller
Vocals – Etta James

In 1967, a pregnant Etta James traveled to rural Alabama to work with the world-class musicians of Muscle Shoals Studios. Country fiddler Rick Hall, who ran the studio, had the perfect song for James, ‘Tell Mama.’ James made four trips to Muscle Shoals in 1967 and 1968 to work with Hall’s creative touches. Hall’s subtle nuances gave Leonard Chess a magnificent record from start to finish. The album features a high-octane version of the title cut, which may be James’ most recognizable song after ‘At Last.’ Also on the album are the gorgeous Soul ballad ‘I’d Rather Go Blind,’ Rosco Gordon’s ‘Just A Little Bit,’ Otis Redding’s ‘Security, and two Don Covay songs, ‘Watch Dog’ and ‘I’m Gonna Take What He’s Got.’ The combination of James’ vocal convictions and Hall’s Muscle Shoals musicians makes this record, released on Chess’s subsidiary label, Cadet, one for the ages. ---blues.org

Leonard Chess dispatched Etta James to Muscle Shoals in 1967, and the move paid off with one of her best and most soul-searing Cadet albums. Produced by Rick Hall, the resultant album boasted a relentlessly driving title cut, the moving soul ballad "I'd Rather Go Blind," and sizzling covers of Otis Redding's "Security" and Jimmy Hughes' "Don't Lose Your Good Thing," and a pair of fine Don Covay copyrights. The skin-tight session aces at Fame Studios really did themselves proud behind Miss Peaches. ---Bill Dahl, allmusic.com

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Etta James – Rocks The House [Live] (1963)

2015-05-20T15:52:43Z

Etta James – Rocks The House [Live] (1963)


1 - Something's Got a Hold on Me - 5:02
2 - Baby, What You Want Me to Do - 4:14
3 - What'd I Say - 3:15
4 - Money (That's What I Want) - 3:22
5 - Seven Day Fool - 4:20
6 - Sweet Little Angel - 4:14
7 - Ooh Poo Pah Doo - 4:04
8 - Woke Up This Morning - 3:38
9 - Ain't That Lovin' You Baby  -2:51
10 - All I Could Do Was Cry  - 3:21
11 - I Just Want to Make Love to You - 3:40

Etta James - Vocals
David T. Walker - Guitar
Marion Wright - Bass
Freeman Brown or Richard Waters - Drums
Gavrell Cooper - Sax (Tenor)
Vonzell Cooper – Organ

Simply one of the greatest live blues albums ever captured on tape. Cut in 1963 at the New Era Club in Nashville, the set finds Etta James in stellar shape as she forcefully delivers her own "Something's Got a Hold on Me" and "Seven Day Fool" interspersed with a diet of sizzling covers ("What'd I Say," "Sweet Little Angel," "Money," "Ooh Poo Pah Doo"). The CD incarnation adds three more great titles, including an impassioned reprise of her "All I Could Do Was Cry." Guitarist David T. Walker is outstanding whenever he solos. ---Bill Dahl, allmusic.com

One of the greatest live club recordings in Blues, and the only one from Etta's early career. You can feel the party; folks are screaming, Etta's steaming, the whole country was still reeling from her '61 At Last! recording that will also knock your shoes off and have you rocking the house yourself. Oh, Etta sings some beautiful blues, you know, but she can rip out some heart-wrenching gutteral gospel, too; it's all here in this one-night show. Just 25 years old and in full power, Live.

The audience is up screaming and dancing from the first number and Etta immediately slides into the sexiest version of Jimmy Reed's Baby, Any Way You Want Me To Do, giving the song all new meaning. Just four years earlier Ray Charles topped the charts with What I Say, and Etta belts it out true to form with all the flavor Ray gave it, and the audience is absolutely enthralled. You are right there with them on this recording.

She puts The Beatles to shame on Money (That's What I Want), and beat them to it here, rocking out to the tune originally recorded by Motown writer Barrett Strong in 1959. The Beatles made a hit out of it in '63 only after this show. They've Etta James to thank for warming Americans up to the beat.

The house stays on their feet keeping the floor wet though a rocking bluesy Seven Day Fool and they don't get a rest till the guitarist gets to put on a show of his own with Sweet Little Angel; a B.B. King classic, sung by Etta "with a feeling" as Little Walter wrote and Paul Butterfield so famously quoted and promoted. Oh, what a feeling. The first set ends here and we break for drinks!

Encore time! Ooh Poo Pah Doo gets the fans all riled up and dancing again. You can imagine a mixed crowd of revelers, drinks and smokes set down now, see 'em Twisting in front of the band and throughout the aisles. Back to B.B. King for Woke Up This Morning in rockin' double time, and Etta finishes off her party sending everyone home sweaty and in the mood with another Jimmy Reed classic, Ain't That Lovin' You Baby. --- David G. Lucas, amazon.com

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Etta James - Live at San Francisco Blues Festival 1986

2013-06-17T16:15:46Z

Etta James - Live at San Francisco Blues Festival 1986


01 Intro - Real Mean Mother
02 I'd Rather Go Blind
03 Something's Got A Hold On Me
04 Sugar On The Floor
05 So Young So Bad So What

Live at The Great Meadow of Fort Mason, San Francisco
September 14th, 1986

Debuting in 1973, the San Francisco Blues Festival is the longest running blues festival in the United States. Tom Mazzolini, the event's producer, founded the blues festival to educate the public about the history and evolution of the blues. Many of the performers at the early concerts were the pioneers and originators of the West Coast blues sound.

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Etta James – Blue Gardenia (2001)

2013-03-20T17:13:55Z

Etta James – Blue Gardenia (2001)


1 This Bitter Earth 
2 He's Funny That Way
3 In My Solitude 
4 There Is No Greater Love 
5 Don't Let the Sun Catch You Crying 
6 Love Letters 
7 These Foolish Things 
8 Come Rain or Come Shine 
9 Don't Worry 'Bout Me 
10 Cry Me a River 
11 Don't Blame Me 
12 My Man 
13 Blue Gardenia

    Etta James - vocals
    Rick Baptist – flugelhorn
    George Bohannon – trombone
    Ronnie Buttacavoli – flugelhorn, trumpet
    Tony Dumas – bass
    Dorothy Hawkins – vocals
    Red Holloway – tenor saxophone

The legendary blues singer indeed lives up to the silly cliché about being able to sing the phone book and make it sound rich, meaningful, and soulful. Still, it's always exciting to hear her tackle materials she's missed before. Here she shifts gears impressively into the intimate jazz club mode, performing beautifully arranged takes on a wide variety of standards (from "Come Rain or Come Shine" to "Cry Me a River") under the direction of producer John Snyder and arranger/pianist Cedar Walton. Those two gathered a handful of great jazz players and recorded the initial tracks without James, who had a touch of the flu. A few months later she had recovered and did the amazing vocal sessions which truly sound live and in synch with the music. Beginning with the redemptive theme of "This Bitter Earth," each song allows her to explore both tenderness and guttural emotions, even a little irony on clever twists like "He's Funny That Way." There are also perfectly placed spotlights for the featured musicians. "This Bitter Earth" and "He's Funny That Way" feature a thoughtful improvisation by Walton, while Duke Ellington's "In My Solitude" has a passionate interlude by tenor saxophonist Red Holloway. Most of the vocals are textured over a bed of simmering brass, adding to the old school big band flavor that creates the atmosphere for the project. It's certainly common for great artists to thank their parents for various influences, but James goes one step further on the title track, allowing her mom to sing the tune; mom is no match for her daughter, but it's still a unique touch that adds emotional dimension to an already emotionally rich affair. --- Jonathan Widran, allmusic.com

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Etta James - Live At Montreux 1993 (2012)

2012-10-13T18:24:37Z

Etta James - Live At Montreux 1993 (2012)


1) Funky Good Time 
2) Hold On, I'm Coming 
3) I Just Wanna Make Love To You 
4) I'd Rather Go Blind 
5) How Strong Is A Woman? 
6) A Lover Is Forever 
7) Beware 
8) Hard To Handle 
9) Just One More Day 
10) Come To Mama 
11) Why I Sing The Blues

Bonus: Over 90 minutes of additional tracks from other Etta James performances at Montreux: 
1975: 
1) Respect Yourself 
2) Drown In My Own Tears 
3) W.O.M.A.N. 
4) I'd Rather Go Blind 
1977: 
5) Medley: At Last / Trust In Me / A Sunday Kind Of Love 
1978: 
6) Take It To The Limit 
1989: 
7) Tell Mama 
8) Something's Got A Hold On Me 
9) Breaking Up Somebody's Home 
10) I Got The Will 
11) Sugar On The Floor 
1990: 
12) Your Good Thing Is About To End.

Etta James made many appearances at the Montreux Jazz Festival across her long and distinguished career from her first concert in 1975 through to her last in 2008. This Blu-ray focuses on the concert from 1993 when she was at her absolute peak and complements it with selected tracks from many other Montreux appearances. It features many of her best loved tracks and songs that she is particularly associated with. Etta James was one of the most respected performers of her generation. In a career stretching over 60 years she was inducted into the Rock n Roll Hall Of Fame and the Blues Hall Of Fame, won 3 Grammys and received many more nominations and was named Female Blues Artist Of The Year on no less than 14 occasions. Sadly, Etta James passed away after a long illness in January 2012 and this Blu-ray is a fitting tribute to one of the greatest female vocalists of the 20th century. --- bluray.highdefdigest.com

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Etta James - The Dreamer (2011)

2011-12-04T19:36:16Z

Etta James - The Dreamer (2011)


01. Groove Me (4:37)
02. Champagne & Wine (3:54)
03. Dreamer (4:55)
04. Welcome To The Jungle (2:59)			play
05. Misty Blue (4:56)
06. Boondocks (4:09)
07. Cigarettes & Coffee (6:20)
08. In The Evening (4:44)
09. Too Tired (2:30)						play
10. That's The Chance You Take (3:46)
11. Let Me Down Easy (7:03)

Etta James’ health has been deteriorating in recent years, so as sad as the announcement is that “The Dreamer” is her final album as she retires from music, it isn’t a shock.

The songs on the 73-year-old R&B-blues-jazz singer’s first collection in five years have none of the overt swan-song character of the album Glen Campbell turned out earlier this year with the help of producer Julian Raymond. Instead, we get a career-twilight portrait of James and her darker-than-ever voice in a set of moody, bluesy and slow-jam groove numbers. One exception may be the chugging “Too Tired,” an up-tempo workout in which she nonetheless embodies the world-weary sentiment of the title. Axl Rose is not a master of funk and blues, but after hearing James’ in-the-pocket treatment of Guns N’ Roses’ signature song, “Welcome to the Jungle,” he may be considered one of the genre’s noted songwriters.

Experiments aside, she’s mostly ruminating on the topic that’s been ground zero for most of her long career: love. The album high point may be her seven-minute exploration of Otis Redding’s “Cigarettes and Coffee,” as she sorts through all the emotional possibilities in this intimate conversation between lovers, taking what seems like all the time in the world. That time on Earth is a finite proposition just makes it resonate that much stronger. ---Randy Lewis, latimesblogs.latimes.com

Assailed by the double debilitations of leukemia and dementia, and requiring hospital care, Etta James has sensibly decided that The Dreamer will constitute the final chapter of her recording career.

And as a swansong, it's as fine as might be expected given the circumstances: there's an aptly valedictory tone to the brooding, brassy covers of Ray Charles's "In the Evening" and Little Milton's "Let Me Down Easy", although the hookline to Johnny Guitar Watson's "Too Tired" – "I'm too tired for anything" – is belied by the loping swing of the groove. And although James's faltering vocals on the itchy Memphis R&B version of "Groove Me" betray her weakening powers, she brings a salty panache to the most surprising cut here, a fatback swamp-funk treatment of Guns N'Roses' "Welcome to the Jungle". ---independent.co.uk

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Etta James – Changes (1980)

2010-10-14T10:12:47Z

Etta James – Changes (1980)


A1   Mean Mother (4:33) 
A2   Donkey (3:18) 
A3   Changes (4:00) 
A4   Don't Stop (3:23)         play
A5   Who's Getting Your Love (3:33) 

B1   Night By Night (3:15) 
B2   It Takes Love To Keep A Woman (4:10) 
B3   Wheel Of Fire (3:32)      play
B4   Night People (4:44) 
B5   With You In Mind (4:21)

Leo Nocentelli- Guitar 
Allen Toussaint- Piano 
Ken Williams- Percussion 
Tony Broussard- Guitar (Bass) 
Robert Dabon- Keyboards 
Herman V. Ernest III- Drums 
Sampson Henry- Keyboards 
Steve Hughes- Guitar 
Etta James- Vocals, Main Performer

From the mid-1950s to the present, Etta James' powerful, soul-charged voice has become deeper and rougher, with a rich texture and heartfelt inflections. It goes without saying that the woman known as "Mama" is aging like California wine, and she can still open wounds in her songs and come out standing strong. When she was five years old, Jamesetta Hawkins amazed the congregation of her church choir. When she belted out Gospel songs with absolute spiritual fervor, it was clear that the child was a musical prodigy. Her career as a singer began when she recorded "The Wallflower" with Johnny Otis in 1954 for Modern Records. A year later, the song topped the charts. In 1960, she moved to Chess Records and soon began cranking out hits such as the driving, jiving, southern soul smash "Tell Mama," which Janis Joplin covered later that decade. Since then, she has recorded for Island and Elektra, experimenting with rock and jazz, but always returning to her Gospel-soaked roots and southern soul.

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Etta James - Blues From The Big Apple, Live! (2007)

2010-10-12T16:26:13Z

Etta James - Blues From The Big Apple, Live! (2007)


01. Respect Yourself Live 4:52
02. I Can't Turn You Loose Live 3:52
03. Dust Your Broom Live 3:48
04. Rock Me Baby Live 3:22           play
05. Stormy Monday Blues Live 5:11
06. I'd Rather Go Blind Live 4:28    play
07. I'll Drown in My Own Tears Live 4:23
08. Out on the Streets Again Live 3:35
9. Shake Yo Booty [Live] 4:18
10. Roll with Me Henry (The Wallflower) 2:54

Etta James can moan, groan, and holler the Blues, sing sweet Soul music, croon smooth Jazz, and belt out R&B in short Etta can do it all! She extracts the deepest passion of Blues singing and re-injects it into any song of her choice, originating from most any musical genre. A legend in her own time, she has influenced Tina Turner, Janis Joplin, Gladys Knight and countless other successful female soloists. James pioneering 1950 s hits like Roll With Me Henry (The Wallflower) also substantiate her place in the early history of Rock and Roll alongside such icons as Little Richard, Chuck Berry and Ray Charles.

Like many great Blues performers, Etta James is best experienced live! In the early 1980 s Etta James played mostly smaller clubs, and it was during one of these appearances in New York, in 1980, that this exciting live album featuring her incendiary vocal performances of Blues and Soul classics was recorded.

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Etta James – R & B Dynamite (1987)

2010-10-10T15:03:58Z

Etta James – R & B Dynamite (1987)


01. W-O-M-A-N 2:44 
02. Number One 2:26 
03. I'm A Fool 2:26 
04. Strange Things Happen 2:30 
05. Hey Henry 2:53 
06. Hope You're Satisfied 3:03 
07. Good Rockin' Daddy 2:23            play
08. Sunshine Of Love 2:26 
09. That's All 2:15 
10. Tears Of Joy 2:46 
11. The Pick Up 2:28 
12. How Big A Fool 2:22 
13. Market Place 2:52 
14. Tough Lover 2:10 
15. Do Something Crazy 3:20 
16. Be My Lovey Dovey 2:02 
17. Nobody Loves You (Like Me) 2:25    play
18. Hickory Dickory Dock 3:02 
19. You Know What I Mean 3:05 
20. Roll With Me Henry AKA Dance With Me Henry 2:57 
21. Baby, Baby, Everynight 2:20 
22. We're In Love 1:46

The singer in her precocious formative years, headed by her 1955 R&B smash "Roll With Me Henry" (aka "The Wallflower"). James' follow-ups included the driving "Good Rockin' Daddy," a bluesy "W-O-M-A-N," and the New Orleans raveup "Tough Lover," which found her backed by the gang at Cosimo's (notably saxman Lee Allen). Even though her tenure at Modern Records only produced a handful of hits, these 22 cuts are delightful artifacts of the belter's earliest days. The CD was reissued, with identical (though slightly resequenced) tracks and liner notes, as Hickory Dickory Dock on Ace 680. ---Bill Dahl, All Music Guide.

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